A chair. A small chair, any beast, any simple, under the lights appears to be a wood old gold… A chair, a small chair placed in the middle of the plateau of the Théâtre Hébertot. A Monday, the day of release, in the late afternoon. Little by little the spectators settle down. A meeting outside of time, outside of well-established programs. An initiative of the vivid, playful, active, Maxime d’aboville. A way for him to pay tribute to a master, a teacher, worshipped at the conservatory, an actor of extraordinary as well in the cinema than in the theatre.
“READ ALSO’ Michel Bouquet and Moliere, a master and his model.
A man born on 6 November 1925, soon to be 94 years of age, and the vivacity of the intellectual remains intact. The friends, the admirers were there. Theatre directors, Frederick Franck, Genevieve Dichamp, Stephanie Tesson, Jean-Claude Houdinière, journalists, Philippe Tesson, the actors who love them, Jean-François Balmer, directors, Georges Werler, Françoise Petit, Daniel Colas, a lot of people from the theatre and, of course, Michel Fau, who led the great artist in Tartuffe there are two seasons at the théâtre de la Porte Saint-Martin and the reveres.
Michel Bouquet had arrived in the company of Juliette Carré, his wife, and actress. Francis Lombrail, the director of the Théâtre Hébertot, which featured this exceptional read, had guided them to their seats.
Maxime d’aboville could enter the scene. Shirt and jean black, frail, with black hair and a smile splashing. There is nothing in the hands? He had still not learned everything by heart! No! The sheets were placed on the chair. The reading could begin after a brief introduction.
It is in the book of interviews, titled The Player that Maxime d’aboville is drawn. Dialogues, fraternal, frank, with Charles Berling.
there are books about Michel Bouquet. With Michel Bouquet. There are the course, a mine, a work completed by Georges Werler. And then there’s this book. We guess the actor Michel Bouquet in complete confidence with this young fellow. He likes the actors. He loves the other. He speaks very well with journalists and interviews with Fabienne Pascaud, are very interesting.
But with an actor like Charles Berling, there is the complicity of the profession, the plateau. And besides, it is because they had toured together, under the direction of Anne Fontaine, How I killed my father , released in 2001, they have been attracted to this book.
“When I was a professor at the conservatory, I realized one thing, in any case, this is a generation that doesn’t learn anything to another”
The assembly created by Maxime d’aboville is well thought out. It has, of course, kept the dialogue as the words of Michel Bouquet. And it starts with a strange comment: “When I was a professor at the conservatory, I realized one thing, in any case, this is a generation that doesn’t learn anything to another.”
Yet, it tells the story of how he went to find Escande, at home, in the morning. Yet, his students are there to testify of what he has sent…
input, there is the evocation of Mrs. Weber, an actress who had worked with Sarah Bernhardt, a “racinienne” extraordinary. Pure. And this sounds like an example…
Maxime d’aboville bed with fluidity, something happy in the voice, even when the passages are fierce. The years of pension, punishment, relations with his father, taiseux, a survivor of 14-18 and required in 39: except that he was going to spend four years in captivity, a work camp and that it would be even more broken…
as an Evocation of his mother, great personality, who would take him to the Opera, the Comédie-Française. In that year, then the interviews, Michel Bouquet must confide that his mother is dead, a few days before. At the age of 101 years. He says, in substance, that it was the “role” that she had the father’s place. And then it corrects itself.
This is a very well made by Maxime d’aboville. The natural outpourings of the heart. The corrections that we retained, as in a document any fees.
Why was it to Hébertot? This was the first professional engagement of Michel Bouquet. He had been approached by a man, at the conservatory. It was Albert Camus. He was going to stage his Caligula , with Gérard Philippe, his friend from school. So goes the time. It was on February 18, 2019, and Caligula had been played on this same stage in 1945… And we remembered that Charles Berling, in his turn, had played at the Workshop… So goes the time, the theatre.
This reading deserves to be taken. An hour, an hour fifteen in an expanded version. It would have its audience. In the meantime, it is up to the Mathurins, that it can be found, every Sunday, at 16h and 17h30, the two components of A history lesson of France in the year one thousand to Joan of Arc and 1515 to the Sun King .
Tel: 01 42 65 90 00.
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